„To the long player, then. It holds up remarkably well over 30 years later – somehow the passing time has vindicated Hollander’s eclecticism and sense of fun. (…) What strikes this reviewer most in retrospect is that Un Peu De L’Ame Des Bandits represents what drove the Western European avant-garde back then – how diffuse and open it was for new ideas, and how interconnected many local scenes were at ground level. And how this record encompasses the spirit of adventure and arch ‘art-for-art’s-sake’ spirit of squat acts like Amsterdam’s Gulf Pressure Ais, André De Saint-Obin or The Young Lions with sonic signals of what later became monetised as ‘world music’. It’s no surprise that I was also reminded of the brilliant Hector Zazou’s work (Kenis was co-producer on two of Zazou’s LPs), which reflected the same Western European dreamy spirit and sense of adventure. As Hollander stated at the time, Brussels was a melting pot for ideas with clubs like Plan B and labels like Sandwich Records – a city with a strong multicultural sense, and a meeting point for many passing through on the alternative circuit, from luminaries from Factory or then-unknown Israeli band Minimal Compact. And Un Peu De L’Ame Des Bandits is a great, still-giving testament to that time. Get it.